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476<br />

L3<br />

<br />

<br />

<br />

機<br />

KI, hata<br />

loom, device, occasion<br />

16 strokes<br />

KINŌfunction<br />

KIKAIopportunity<br />

hataoriweaving<br />

Bronze ; seal . Interpretations vary. Has <br />

73 ‘tree, wood’, and the right-hand element <br />

1181 (modern meaning ‘how much/many?’)<br />

which Yamada takes as both semantic and phonetic,<br />

meaning ‘stop thread’, to give ‘device to<br />

move vertical (warp) thread on loom’, then used<br />

by extension to refer in general to something<br />

which has a stopping action. Katō breaks down<br />

(itself the original way of writing : see also<br />

1181) into 29 ‘threads’, with 545 (person<br />

carrying halberd) as phonetic with associated<br />

sense ‘stop firmly’, to give overall meaning in<br />

agreement with Yamada, i.e. ‘device to control<br />

vertical thread [on loom]’. Tōdō analyzes (and<br />

) differently, including the underlying linguistic<br />

forms in a word-family ‘small, detailed’, and<br />

– on the basis of the way the graph is treated<br />

477<br />

L3<br />

<br />

<br />

<br />

議<br />

GI<br />

discussion<br />

20 strokes<br />

GIRONdiscussion<br />

KAIGIconference<br />

GIKAIthe Diet<br />

Seal ; a late graph (Shuowen). Has 118<br />

‘words, speech’, and 674 (originally denoted<br />

a beautiful dance or appearance, now meaning<br />

478<br />

求<br />

KYŪ, motomeru<br />

request, seek<br />

L 3<br />

7 strokes<br />

YŌKYŪdemand<br />

TSUIKYŪpursuit<br />

KYŪSHOKUseeking work<br />

OBI ; bronze ; seal . Pictograph of animal<br />

fur, taken as fur garment (later written ,<br />

with 444 ‘clothing’ to distinguish from<br />

in Shuowen along with other weaving-related<br />

graphs – takes it to refer likewise in broad terms<br />

originally to a small mechanical device in a<br />

loom. Tōdō notes that was also employed for<br />

a variety of other small devices related to movement,<br />

then for ‘loom’; by further extension, the<br />

association with initiating movement gave rise<br />

to the sense ‘opportunity/occasion’. Schuessler,<br />

for his part, has reservations about the above<br />

interpretation, which is common to Tōdō and<br />

Karlgren. Despite emphases on stopping on<br />

the one hand and starting on the other, the<br />

key factor is ‘control’. Whichever interpretation<br />

is followed, unchanging is the fact that was<br />

later added to to denote ‘loom’ or ‘small<br />

mechanical device’ in order to distinguish this<br />

sense from in its increasingly common use<br />

for other words of the same or similar pronunciation<br />

but different, abstract meanings (‘for<br />

a short time’, ‘how many times?’ ‘how much’,<br />

etc.). KJ1970:144-5; YK1976:118; TA1965:695-7;<br />

AS2007:293; WD1974:416-7.<br />

Mnemonic: ON HOW MANY OCCASIONS IS A<br />

WOODEN LOOM USED?<br />

‘righteousness’, qv) as phonetic with associated<br />

sense ‘criticize’ (Katō, Yamada, Shirakawa) or as<br />

semantic element meaning ‘correct’ (Ogawa;<br />

a meaning already found at the OBI stage,<br />

according to Schuessler). Either way, ‘discuss’<br />

is the result of a generalized shift in meaning.<br />

KJ1970:240-41; YK1976:120; SS1984:165;<br />

OT1968:944; AS2007:566.<br />

Mnemonic: DISCUSSION INVOLVES<br />

RIGHTEOUS WORDS<br />

other meanings of abstract nature); some OBI<br />

occurrences show the fur spread out, while<br />

others show it hanging. The meaning ‘seek’ is<br />

a loan usage. MS1995:v2:1166-8; KJ1970:124;<br />

YK1976:124; OT1968:556. We suggest taking<br />

as a variant of 42 ‘water’, – as a cross (stroke),<br />

with a spot (top right).<br />

Mnemonic: CROSS WATER TO SEEK SPOTTED<br />

FUR<br />

164 The 200 Fourth Grade Characters

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